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Produits de beauté
Cheveux Colour: What's in? What's not? (AO: 1763) The rarest and expensive wigs were a pure white. As a result, people put white powder on their hair in order to make them look as white as possible. It intensified the blondeness of very fair hair but made darker hair look grey, the shade depending on the natural hair colour. Hair colour was more vital with aristocratic women since wig wearing was not a common practice. Men: Blond and Brunet were common for men. (Respectively the colouring of Emperor Louis XIV, Dauphin Louis-Auguste, and the late Cardinal Mortemart) Women: Brunette, Black, and Blonde were common for women. (Respectively the colouring of the late Empress Marie IV, Empress Marie Christine, and Marie-Anne-Sophie de Saxe.) Coiffures & Perruques Wig Styles: What's in? What's not? (AO: 1763) Women would not wear Wigs until the late 1770's (unless a hair defect was present), thus' men ruled the scene and had a vast array of wigs. Men: The Periwig - or Perruque - was quite a popular wig-style during the reign of Louis XIII. It lost popularity after his death. Certain courtiers were seen sporting the perruque ''well into the 18th Century. '''Monsieur le Marquis de Louvois' was a common wearer of it, and he was never chastised for the continuation of it, it was his signature look. Most common became Campaign Wigs or Travel Wigs, Bob Wigs or Physical Wigs, and Toupees or Foretops. Dauphin Louis Auguste favoured the Ramillies Wig which consisted of a long, braided queue tied with ribbons. The most common at the court of Louis XIV was the Tie-wig, characterized by the queue being tied with ribbon. * "Adonis" was a long, white, and somewhat bushy wig. * "Aile-de-pigeon" consisted of two rows of rigid curls in horizontal lines above the ears. * "Bob-wig" was a short wig fitted close to the head, often with "bobs" or knots of hair. * "Brigadier Wig" became popular in 1750-70 and resembled the style used in the military. * "Campaigne Wig" was a large, bushy wig with short sides and a very small "pony-tail" or queue as it was called. Festooned with large curls which were fastened upon the perch of the head. Favoured especially by the elderly gentlemen. * "Catogan" 'had the loose-hanging hair tied with a hidden ribbon which created a "bob" or "bump" in the middle of the pony-tail. * "'Fantail Wig" 'consisted of an array of loose curls. * "'Full-Bottom Wig" 'was rather common with those in trade. * "'Periwig" '''had a characteristic curve on the front. There were successive numbers: ''Pigeon Wings Toupee, Pig-Tail Wig, Ramillies Wig, Vallancy, Duvillier Wig, and the Spencer Wig (common in England).'' '''Women: Women, though not wearers of a wig, were inclined to wear expensive headdresses: An Aigrette '''was either a bejewelled ornament or a set of feathers which would be attached to a hat or the hair itself. The most common was the '''Bergère,' '''a large straw hat with a wide brim. The crown would be decorated with a ribbon. '''Crants / Craunce '''was not a hat but a garland of flowers which could be adorned with jewels. In England, it was worn also at the funeral of a deceased virgin. A '''Tricorne' was a three-pointed hat. Hairstyles: '''What's in? What's not? (AO: 1763) Women were at the forefront of hairstyling since the wig was not a common use. '''Men: To hide one's real hair beneath one of the various wigs, it was common to slick back the hair using pomade or it was equally effective to cut the hair short. Women: Tête de Mouton was the most common hairstyle. Literally meaning "sheep's head" the "tête de mouton" was a discreet hairstyle which gained popularity around 1750. It was a close-fitted hairstyle. The hair was neatly curled and arranged in small neat rows and set close to the persons' scalp. Marie IV's was the influencer of this common style. Normally, the curls would be powdered with white powder before being attached to the head. It was quite common to decorate the hairstyle with different sorts of accessories - after all, it would not do to be too simple. Artificial flowers, pearls, and gemstones were lavishly added to the hairstyle and most women would try to match the colour of their gown with that of their hairstyle's accessories. La Parfum Perfume is a mixture of fragrant essential oils or aroma compounds, used to give the human body, animals, food, objects, and living spaces "a pleasant scent". Hygiene among the nobility was scarce. This was due to the great fear of water; it was generally believed that diseases travelled through water so the less you bathed the less liable you were to catch a disease. It was an obsolete medical theory that miasma or bad air held diseases - such as cholera, chlamydia, or the Black Death. Thus, the use of perfume was widespread. Emperor Louis XIV insisted on having his clothes perfumed with a scent called "Eau de Gloire", which was composed of aloes-wood, nutmeg, storax, cloves, and benzoin, boiled in rose-water. It was simmered for a day and night before jasmine and orange flower water and a few grains of musk were added. Like some kind of early fabric conditioner, it was used to rinse his shirts. * Perfume was used in abundance at the Pavillon de Porcelaine, throughout, vases were filled with flower petals, to sweeten the air. Furniture was sprayed with perfume. Even the fountains and visitors were sprayed with perfume, on entering. Empress Marie-Christine, coming from the foreign court of Spain, hadn't great experience of the importance of perfume. But when she did settle into life in Grandelumière, her favourite scents were of roses, lilies, lavender, and hyacinths. Her heavily rose infused perfume, "Florabella" ("Beautiful Flower") was a subtle reminder of her Spanish heritage. * Her dwarf companions often carried small pouches tied to their cavalier silks which contained traces of her favourite rosy musk. Marie IV (Deceased) 'was a leading lady when it came to perfume. Especially two of her perfumed fragrances have survived: "''Sillage de l'Impératrice" (In the Wake of the Empress) and "Jardin Secret"'' (Secret Garden). Sillage de l'Impératrice was made of tuberose, orange blossom, jasmine, sandalwood, iris, and cedar. Jardin Secret was scented with bergamot, cardamom, jasmine, rose, incense, sandalwood, vanilla, patchouli, amber and tonka bean - of course, some of these were a very, very small part of the perfume. '''Monseigneur le Dauphin '(WIP) '''Madame la Dauphiné, coming from the simple courts of Saxony and Poland, wasn't aware of the significance of perfume. However, during her exile to Grandelumiere during the Prussian War, she became acquainted with it. Soon, she adored Jasmine and other Au-nautrel scents, this is possible due to her upbringing. Cardinal Mortemart (L'Eminence Rouge) was fond of heavy scents and loved to experiment with new scents. Top notes were rose, jasmine, tuberose, geranium, and lily. White musk, saffron and amber wood form the dry down, and the whole fragrance was then raised to an extreme. * Due to his extreme heavy scent, he earned the name: "L'Eminence Rouge" * [Actually, perfume became a problem between the Cardinal and his nieces les Mortemarette. They could be heard arguing as they stepped into their carriage. Apparently, the nieces could not stand the Cardinal's perfume, so much so that they were prone to fainting in his presence.] * Madame, la Duchesse d'Anjou describes how during a summer promenade, the perfume emitted from her uncle was so overwhelming, that she had to flee his presence before she fainted. When L'Eminence Rouge died in 1758, his scent could still be smelt in and around his various residences. This touched his admirers but drove his enemies crazy, as though the Cardinal was having the last laugh: life after death. Madame la Dauphiné, no devotee when it came to the Cardinal, was heard to have screamed one day while walking through the corridors of Argenteuil: "I can still smell him! He's here! I shall go mad!." His little petite-nièce Antoinette d'Anjou, or as she was known, "Mademoiselle" kept up the tradition of his perfume blend and made sure it was produced long after his passing, making sure the scent was burned at the many Mortemart residences as though he were still very much present. Both Madame la Princesse Douairière and Mademoiselle de Clermont would adopt this scent. Monsieur, le Duc d'Orleans favoured heavy and musky scents of wine, which added a tangy spectacle to passersby, though this passion could lead to unflattering rumours. Various floral notes were also particularly noticeable when in his presence. Roses, jasmine, gardenia, and violets were the common favourite. Madame, la Duchesse d'Orleans (AKA: Grand Madame.) used coriander, rose, cloves, honeycomb and lemongrass. Her scent was known as "à la Madame" because she was known by the honorific title of as Madame. * Madame was also known to carry small delicate pouches of perfume in small pockets of her dress. Mademoiselle, ''subséquent'' Duchesse de Mortemart, had quite the ordeal when it came to perfume. She favoured a blend of lemon, cinnamon, angelica, cloves and coriander. It was sometimes referred to as "E''au de Carmelites''" since it was produced by Carmelite nuns for centuries. There was also the "Parfum de Beauvoir", the dominant note being rose but added were orange blossom, essentials oils of lemon and bergamot, lavender, galbanum, iris, violet, a bit of jasmine, jonquil, tuberose, cedar, sandalwood, amber and musk. Finally, a little vanilla was added. Madame la Princesse Douairière liked the scent was made by the Italian perfumer Gian Paola Ferninis. Its original name was Aqua Admirabilis but that would not quite do at court where it was renamed as "Eau de Cologne". It was scented with rose, neroli oil, bergamot, lavender, grape spirit and rosemary, these scents completed an extraordinary olfactive experience. Monsieur le Comte 'had his own blend brewed in the commune of Grasse (Provence). His fragrance entitled ''"à la Comte" was scented with verbena, lemon polish, and the sensuality of primrose, plumeria, sweet autumn clematis, lily of the valley, viburnum, mock-orange, and lilac. This perfume, tender and vivid, exemplifies the sharpness of his personality and elegant fashion sense, as well as the voluptuous charms of Rococo chic. '''Monsieur le Duc de Rohan (Deceased) favoured the fragrances of saffron which instantly overturned one's senses. Jasmine and leather add freshness to his inwardly reclusive personality. Sandalwood, patchouli, amber wood and crystal musk sublimate the senses. Madame la Duchesse de Rohan (Douairière) 'enticed those around her to an extreme experience. Top notes of her fragrance were saffron, apple, and mandarin zest. Followed by flowery middle notes of rhododendron, raspberry, geranium, and lavender. Sandalwood, white musk and amber wood form the dry down, which deemed the delicacy of Madame de Rohan to an ultimate extreme. She also favoured chocolate-inspired perfume, a common aphrodisiac. '''Madame la Marquise de Vivonne '(Deceased) 'had the distinct smell of Lilac and Gooseberry, a rather pungent yet sour smelling scent. It was mockingly called "''Le Clap." Monsieur le Marquis de Galiffet (Évêque de Amiens) had a passion for Lavender. This sweet smelling perfume made him agreeable company to have a lengthy conversation with. Monsieur le Duc de Choiseul (Deceased) 'entrusted his perfumer, Pierre Galant, to come up with fragrances which encaptured expensive contemporary taste. Though it was noted how the Duc's liaisons could be pinned down to the exact person, due to the scent of his lover still lingering around him. These fragrances, foreign to the Duc, were nicknamed ''"Qui maintenant?" ''("Who now?") and ''"Réveillez-vous" ("Wake up"). '''Madame la Duchesse de Choiseul'' (Deceased)' with the usual scent of saffron and amber, tinctured an already perfectly pungent perfume with lavender and iris. Blackcurrant, grapefruit and green leaves, spread a fresh and fruity olfactory stimulation. Though, to keep brushing aside rumour of her husband still carrying his lover's scent after amorous contact, she'd often copy them in order to reassure that it was she whom people were smelling. '''Monsieur le Duc de Mortemart' (Alexandre Hercules) was rather flamboyant when it came to perfume. Like the immensely rich Duc, his favoured perfume was too rich in everything: Iris, rosewood, benzoin, eau d'ange, nutmeg, cloves, bark from a lemon tree, oranges, jasmine, coriander, marjoram, lavender, roses etc. Popularly said, it had so many scents that it was hard to define it by a single note. Monsieur le Duc de Luynes (Formerly Duc de Chaulnes) '''loved to stand out when it came to personal appearances. The sweet and sometimes overpowering Provence rose was a favourite, the delicate restraint of vanilla blossom was another addition, lemon added an extra zest (quite attune to the Duc de Chaulnes's personality) and the traditional musk. '''Madame la Duchesse de Mercoeur (Etienniette) loved to smell of the fresh fruits of Spring. So, therefore it was no surprise that her most used perfume was a mix of jasmine, lemon, mango, and a dash of coconut. She nicknamed the sweet blend "fruits de la brise" For the sweet smell that blew though the air when she was outside. The perfume was made in the Southern parts of Grandelumiere, for when she arrived to court. Monsieur le Marquis de Louvois (Charles Michel) was a colourful and exuberant creature, much in the "Le Tellier" tradition and the "Le Tellier" outlook on life. The wild scent of the possessing and alluring chrysanthemum was the top note, lilac was another passionate scent which was at once delicate and at once seductive. Rose would commonly make the base of all his personal scents. (Note: If you have information you wish to input into this article, please make contact before doing so) Category:Articles relating to the Empire